The team of collaborators they assembled—almost 30 in total—features an impressive array of names from across creative sectors. Prominent Brazilian design duo
traversed New York’s Chinatown and Garment District to fashion five stunning costumes for the project; Karole Armitage, whose projects have ranged from the American Ballet Theatre to Madonna music videos, provided choreography; MATTE Projects, a creative agency that has partnered with Google and Redbull in the past, handled production elements including lighting; visual artists
designed the set; and underground French composer Charles Derenne crafted the score.
As in Schlemmer’s original, the costumes steal the show. First onstage is the Honeycomb Woman, outfitted in a red sphere and spiked mirrored headdress that glints as she spins; she’s soon joined by the Accordion Man, whose rigid, folded costume gleams in metallic shades of gold and green. All of the dancers wear black morphsuits as a base, concealing their faces and lending an eerie anonymity to the performance. In comparison to Schlemmer’s original costumes—bulky and bulbous, resembling dolls or puppets more than robots or machines—the Campana Brothers’ creations allow a wider range of movement and even, on occasion, seem to amplify some of the dancers’ gestures, at times making their movements appear physically impossible. It seems appropriate, in an age where technology is becoming more and more lifelike, that these costumes would hover more delicately between man and machine. Also notable is Derenne’s score, featuring a live violinist and drummer playing over a recorded track. The drum lends a steady, thumping heartbeat to the electronic, at times video game-esque frills.